DOCSLIB.ORG

Isbn: 978-0-9955893-1-5

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Isbn: 978-0-9955893-1-5 ISBN: 978-0-9955893-1-5 VOLUME 2 08.09 – 05.11 b INTRODUCTION At the outset, we thought that Ambika P3 might just be a temporary In order to achieve our initial aim, and our mandate, we divided the of Frieze and being ‘off-Frieze’; with the Photographers Gallery project. We planned ahead for three years. This project was to bring “I want to congratulate the annual calendar into three categories – external commercial lets, to host the installation of three finalists in the Deutchebank Prize. disused space back into use, after 10 years of being mothballed. We internal events, and self-generated or partnered public exhibitions. We continued our partnership with Kinetica attracting huge varied intended it to be used in a productive and creative way – it was to be University of Westminster The first earned an income to cover our running costs, the second audiences to their varied programme – part art-fair part festival of sustainable in economic terms, and not a drain on the university’s saved the university the cost of hiring external spaces, and the events. The boundaries blurred between our own curated projects, resources. for adding to the repertoire third to promote our exhibitions and generate a high level of critical and those developed by others, and the events brought to us by the acclaim to support the university’s reputation. The whole would commercial sector. This tri-partite relationship between commercial, By the end of the first three years we had achieved success provide links to London’s burgeoning creative economy of the art and academic and the work of artists, and it’s resultant synergy, is a recognised by Sir Nicholas Serota in his opening remarks for the of spaces in London in design worlds, where many of our graduates will find work. cornerstone of Ambika P3 ambition. Jannis Kounellis exhibition in April 2010 in which he said this magnificent way, and By year 3, it was clear that we had a major success on our hands, During this exceptionally diverse programme we developed new and we started to plan more than three years ahead. From 2009 and interesting projects within the university. The degree shows, it really is incredible what to 2011 we established our reputation as a sought-after venue for undergraduate and post-graduate, continued to be high-lights in Fashion Show where famous faces such as Anna Wintour, Samantha their university experience. First Year Architecture showed what an you’ve been able to do here Cameron, or Kate Moss were snapped by the paparazzi. In the art inventive programme can produce after just one term of a seven year world we partnered Niccolo Sprovieri in a new installation by Arte education. Land Architecture People (LAP) was the exhibition that already. But this show I think Povera legend Jannis Kounellis; we paid homage to Peter Kardia as resulted from a collaboration of two architects and an anthropologist a great teacher who selected an early work and a late from each of beautifully composed with various classic design tools of an architect demonstrates what potential 34 former students including Richard Long, Alison Wilding, Richard – drawing, model making, table top layouts. Deacon, Bill Woodrow, and Richard Wentworth, with our own curator Michael Mazière. In collaboration with Sprüth Magers, Anthony As ever the extraordinary qualities of the space known as Ambika this space has for the future, McCall Light Works developed an entirely different kind of projection P3, was an inspiration to all who visited, and they came in their appearing as vertical cones of light – mesmerising to all who came numbers. The creative eye of the artist, designer, architect and so thank you.” and lay on the floor enclosed by light in an ephemeral Architecture. curator brought new ideas, insights, usage and audiences. The In both areas we had become known in London and internationally, space and the activities it supported had become part of the for the diverse range of high class events. We commissioned new London’s Cultural Offer, and the future held promise for much more. work from David Ward entitled Rink choreographed moving light video project onto the floor as if made by an ice skater. Katharine Heron Director, Ambika P3 In this period we made new and valued external partnerships with the Photographers Gallery; Open City and their workshops for young people; Dance Umbrella who built an installation to act as an armature to a new dance piece; with the Sunday Art Fair who followed Limoncello as young gallerists showing at the time 2 VOLUME TWO SEPTEMBER 2009 MAY 2011 4 Curating is not so much the product of curators as it is the fruit of the labour of a network of agents. The curatorial involves not just representing but presenting and testing; it performs something here and now instead of merely mapping something from there and then. 1 COLLABORATIONS AND PARTNERSHIPS AT AMBIKA P3 A substantial part of the exhibition programme at Ambika P3 Large visual arts partnerships such as hosting of the has been developed through a variety of partnerships. From the Photographer’s Gallery Deutsche Börse Photography Prize (2011) outset Ambika P3’s has been open to proposals and actively provided both a new audience for Ambika P3 but also the context sought individuals and organisations to collaborate with from for a 3 day conference ‘Exhibiting Photography’ organised by our inside and outside the University of Westminster. Each of these Centre for Research and Education in Arts and Media (CREAM). relationships has been unique and tailor made to suit the projects This brought together international speakers to examine the involved. From simply providing the space to advising, producing curation and display of photography and the on-going obsession and co-curating, the degrees of co-operation have been broad with photographic specificity in the art world. and flexible. When Artangel proposed to stage Heiner Goebbels Stifter’s Dinge (2008) very soon after our launch we were keen The Jannis Kounellis (2010) exhibition engaged with the space to host such an experienced and prestigious organisation and through a vast site specific commission and was delivered simply oversee the management of the space. The result was through a different type of collaboration – that of partnering with stunning and became a yardstick by which we would measure our a commercial gallery. Working with the Sprovieri Gallery we were own accomplishments in the space. It worked so well that they able to present a major exhibition of the artist on a scale and in returned with an expanded version of the piece in 2012 – staging an environment which suited his work. This vast new installation it as both an installation and a performance. made of coal, metal and glass was commissioned specially for Ambika P3 and funded by Sprovieri Gallery. It was Kounelllis’ Other forms of collaboration have been of a nurturing nature, first public gallery exhibition in the UK since 1982. This form of incubating projects such as the first Kinetica and Sunday Art partnership with commercial galleries was to become a future Fair exhibitions. In these events we facilitated the development model, leading to new commissions by Anthony McCall with of the projects by initially providing advice and consultation with Sprüth Magers Gallery (2011) and Chantal Akerman with Marian the space at no cost until these yearly events took on their own Goodman Gallery (2015). identity and volition and became part of our commercial portfolio. This allowed these alternative and more adventurous projects time to consolidate both their financial and cultural strategies. above: Alison Wilding installing her works for From Floor to Sky 6 below: Heiner Goebbels rehearsing Stifter’s Dinge Another engaged form of partnerships, here with an artist led Kardia’s methodological processes as a form of living case project involved further exploration in the curatorial, production study which re-established some of the dynamic of the original and installation of exhibitions. The exhibition From Floor To Sky, pedagogic relationships. The curatorial responsibilities were British Sculpture and The Studio Experience (2010) was brought shared across the artists, the curators and, to some extent, the to our attention by one of the participating artists Roderick Coyne. participating audience, who had to navigate an exhibition that This was a group interdisciplinary exhibition which included offered, not a fixed history, but a series of possibilities and new new and historical work by 28 key British artists to examine the links between practices, influence, history and creativity. influence of their teacher Peter Kardia. This project tested the limits of collective participation in the curatorial process with an These selected examples of Ambika P3’s diverse and flexible open form of collective curation involving Kardia, myself as the partnerships were developed through both opportunity and Ambika P3 curator and the participating artists. All three parties planning and delivered innovative and immersive exhibitions where would engage in the design and selection of the works of the space, site, material and collaboration operated as a matrix to be exhibition in a series of regular workshops and meetings which explored and tested. were held weekly over a period of months. 1. Lind, M. (2009) ‘On the curatorial’, Art Forum, October, pp. 15-16. The process of producing an exhibition is usually divided into clear areas of commission & curation, design, production, delivery, Dr Michael Mazière installation and exhibition. In the case of Floor to Sky, barriers Curator Ambika P3 broke down, categories collapsed and many of these activities ran in parallel and overlapped in a way which challenged the hegemony of curatorial practice. The boundaries between studio and gallery where also blurred as artists started producing and left: Peter Kardia leading a discussion of the exhibition From Floor to Sky experimenting with works in situ.
Load more

Recommended publications
  • Artists' Lives
    National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Michael Landy Born in London, 1963 Lives and Works in London, UK
    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
    [Show full text]
  • Art REVOLUTIONARIES Six Years Ago, Two Formidable, Fashionable Women Launched a New Enterprise
    Art rEVOLUtIONArIES SIx yEArS AgO, twO fOrmIdAbLE, fAShIONAbLE wOmEN LAUNchEd A NEw ENtErprISE. thEIr mISSION wAS tO trANSfOrm thE wAy wE SUppOrt thE ArtS. thEIr OUtSEt/ frIEzE Art fAIr fUNd brOUght tOgEthEr pAtrONS, gALLErIStS, cUrAtOrS, thE wOrLd’S grEAtESt cONtEmpOrAry Art fAIr ANd thE tAtE IN A whIrLwINd Of fUNdrAISINg, tOUrS ANd pArtIES, thE LIkES Of whIch hAd NEVEr bEEN SEEN bEfOrE. hErE, fOr thE fIrSt tImE, IS thEIr INSIdE StOry. just a decade ago, the support mechanism for young artists in Britain was across the globe, and purchase it for the Tate collection, with the Outset funds. almost non-existent. Government funding for purchases of contemporary art It was a winner all round. Artists who might never have been recognised had all but dried up. There was a handful of collectors but a paucity of by the Tate were suddenly propelled into recognition; the national collection patronage. Moreover, patronage was often an unrewarding experience, both acquired work it would never otherwise have afforded. for the donor and for the recipient institution. Mechanisms were brittle and But the masterstroke of founders Gertler and Peel was that they made it old-fashioned. Artists were caught in the middle. all fun. Patrons were whisked on tours of galleries around the world or to Then two bright, brisk women – Candida Gertler and Yana Peel – marched drink champagne with artists; galleries were persuaded to hold parties into the picture. They knew about art; they had broad social contacts across a featuring collections of work including those by (gasp) artists tied to other new generation of young wealthy; and they had a plan.
    [Show full text]
  • Abstract Drawing 20 February – 19 April 2014 Curated by Richard Deacon
    Drawing Room, 12 Rich Estate, Crimscott Street, London SE1 5TE Abstract Drawing 20 February – 19 April 2014 Curated by Richard Deacon Artists include: Tomma Abts, Roger Ackling, Anni Albers, David Austen, David Batchelor, Victor Ciato, Garth Evans, Monir Shahroudy Farmanfarmaian, John Golding, Lothar Götz, Frederick Hammersley, Victoria Haven, Susan Hefuna, Eva Hesse, Dom Sylvester Houédard, Anish Kapoor, Hilma af Klint, John Latham, Bob Law, Sol LeWitt, Gordon Matta-Clark, Kazimir Malevich, Emma McNally, Sam Messenger, Nasreen Mohamedi, Jackson Pollock, Dorothea Rockburne, Mira Schendel, Richard Serra, Kishio Suga, Darrell Viner, Alison Wilding, Richard Wright. Artist Richard Deacon has selected a broad range of works by over 30 artists spanning the last 105 years on the idea of ‘abstraction’ in drawing. Deacon says: ‘This exhibition has no ambitions to be a universal survey, but in selecting a show around the idea of abstract drawing, these various strands – inscriptive, calligraphic, ornamental, generative, individuating and identifying – have all featured.’ Richard Deacon CBE is one of the most important British sculptors of his generation and has exhibited internationally since the early 1980s. He won the Turner prize in 1987, and a major retrospective exhibition of his work is presented at Tate Britain in 2014 (5 February – 27 April). The activity of drawing is crucial to his work as a sculptor, which engages with processes and means of manufacture. This deep interest in making as an activity is evident in his selection of works for Abstract Drawing. The earliest works exhibited here are drawings made in 1906 by Swedish artist Hilma af Klint, recently heralded as producing the earliest forms of Western abstraction, and in 1917/18 by Kazimir Malevich, regarded as the father of abstraction.
    [Show full text]
  • Quarters Kathryn Tully Compare How the Artists’ Areas in the Two Cities Have Changed Over Time
    4 ART AND THE CITY ART TIMES ART DISTRICTS London and New York are the two powerhouses of the international art world, Artist’s supporting galleries, auction houses, museums and, of course, artists. The areas where the latter congregate quickly gain a reputation for style, innovation and creativity – prompting the arrival of dealers and property developers. Based in London and New York respectively, Ben Luke and quarters Kathryn Tully compare how the artists’ areas in the two cities have changed over time LONDON (YBAs), and gathered in a then un- that the character of the place and the It is astonishing that until 2000, when likely crucible for cultural renaissance It is important to try to strike a things that made it successful as an area Tate Modern opened, London lacked – the East End districts of Shoreditch of regeneration can remain in some a national museum of modern art. and Hoxton. balance between ensuring that form, but without stultifying it and Instead, 20th-century art was housed In Lucky Kunst, his memoir of the trying to keep it as a museum.” alongside British art in the Tate Gallery, YBA era, Gregor Muir, now director of the character of the place and the Mirza is particularly focused on now Tate Britain, on Millbank. When it the contemporary gallery Hauser and the area around the 2012 Olympic arrived, Tate Modern shone as a beacon Wirth, remembers arriving as a pen- things that made it successful as an Park. “Hackney Wick has the largest for London’s newfound conviction in niless critic in a Shoreditch suffering concentration of artists anywhere in the kind of art that had long been the from the economic inequalities of the area of regeneration can remain in Europe.
    [Show full text]
  • News Release
    News Release Wednesday 27 June 2018 FINAL COMMISSIONED PORTRAIT OF MICHAEL JACKSON BY ARTIST KEHINDE WILEY GOES ON PUBLIC DISPLAY FOR FIRST TIME IN UK New and previously unseen works unveiled in major new exhibition exploring the influence of Michael Jackson on contemporary art Kehinde Wiley in front of his painting, Equestrian Portrait of King Philip II, 2009 photograph by Jorge Herrera; Equestrian Portrait of King Philip II (Michael Jackson) by Kehinde Wiley 2010. Olbricht Collection, Berlin. Photo by Jeurg Iseler. Courtesy of Stephen Friedman Gallery, London and Sean Kelly Gallery, New York © Kehinde Wiley Michael Jackson: On the Wall National Portrait Gallery, London: 28 June – 21 October 2018 Sponsored by BOSS and Sony Music The final commissioned portrait of Michael Jackson by the artist Kehinde Wiley is to go on public display for the first time in the UK in a major new exhibition, Michael Jackson: On the Wall, opening at the National Portrait Gallery, London on Thursday 28 June 2018. The exhibition, which explores the influence of Michael Jackson on some of the leading names in contemporary art, also includes 11 new works made specifically for the exhibition by contemporary artists including Njideka Akunyili Crosby, Dara Birnbaum, Michael Craig-Martin, Graham Dolphin, Yan Pei Ming and Donald Urquhart. Other works going on display for the first time in the UK include American artist and activist Faith Ringgold’s story quilt Who’s Bad?,a series of collages by Isaac Julien made in 1984 and Jackson’s ‘dinner jacket’ covered with forks, spoons and knives made by costume designer Michael Lee Bush.
    [Show full text]
  • Listed Exhibitions (PDF)
    G A G O S I A N G A L L E R Y Anish Kapoor Biography Born in 1954, Mumbai, India. Lives and works in London, England. Education: 1973–1977 Hornsey College of Art, London, England. 1977–1978 Chelsea School of Art, London, England. Solo Exhibitions: 2016 Anish Kapoor. Gagosian Gallery, Hong Kong, China. Anish Kapoor: Today You Will Be In Paradise. Gladstone Gallery, New York, NY. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor. Lisson Gallery, Milan, Italy. Anish Kapoor. Museo Universitario Arte Contemporáneo, Mexico City, Mexico. 2015 Descension. Galleria Continua, San Gimignano, Italy. Anish Kapoor. Regen Projects, Los Angeles, CA. Kapoor Versailles. Gardens at the Palace of Versailles, Versailles, France. Anish Kapoor. Gladstone Gallery, Brussels, Belgium. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor: Prints from the Collection of Jordan D. Schnitzer. Portland Art Museum, Portland, OR. Anish Kapoor chez Le Corbusier. Couvent de La Tourette, Eveux, France. Anish Kapoor: My Red Homeland. Jewish Museum and Tolerance Centre, Moscow, Russia. 2013 Anish Kapoor in Instanbul. Sakıp Sabancı Museum, Istanbul, Turkey. Anish Kapoor Retrospective. Martin Gropius Bau, Berlin, Germany 2012 Anish Kapoor. Museum of Contemporary Art, Sydney, Australia. Anish Kapoor. Gladstone Gallery, New York, NY. Anish Kapoor. Leeum – Samsung Museum of Art, Seoul, Korea. Anish Kapoor, Solo Exhibition. PinchukArtCentre, Kiev, Ukraine. Anish Kapoor. Lisson Gallery, London, England. Flashback: Anish Kapoor. Longside Gallery, Yorkshire Sculpture Park, West Bretton, England. Anish Kapoor. De Pont Foundation for Contemporary Art, Tilburg, Netherlands. 2011 Anish Kapoor: Turning the Wold Upside Down. Kensington Gardens, London, England. Anish Kapoor: Flashback. Nottingham Castle Museum, Nottingham, England.
    [Show full text]
  • Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
    Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene
    [Show full text]
  • Alison Wilding
    !"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New
    [Show full text]
  • BRIAN SEWELL, LESLIE WADDINGTON and ART of the NINETIES: the COLLECTORS THAT DEFINED LONDON's ART WORLD from the 1950S TO
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE : 2 6 SEPTEMBER 2 0 1 6 BRIAN SEWELL, LESLIE WADDINGTON AND ART OF THE NINETIES : THE COLLECTORS THAT DEFINED LONDON’S ART WORLD FROM THE 1950s TO PRESENT DAY Top Row (L to R): Matthias Stomer, Brian Sewell and John Craxton, Middle Row (L to R): Leslie Waddington, Jean Dubuffet and Francis Picabia, Bottom Row (L to R): Douglas Gordon, Damien Hirst and Glenn Brown London – This autumn Christie’s will offer works from three private collections that trace the development and trajectory of the London art scene from the 1950s to present day. This begins with the collection of Brian Sewell, the Evening Standard’s late art critic, who was a Specialist in the Old Master Department at Christie’s in the 1950s and 60s, having graduated in Art History at the Courtauld Institute, and nurtured a keen appetite for Renaissance works that span the 1500s through to Modern British artists of the mid-20th century. He built up a distinctive collection and 248 lots will be offered on 27 September including paintings by the Flemish artist Matthias Stomer, works on paper by the likes of Daniele da Volterra and Joseph Anton Koch, and the British Modernism of Duncan Grant and Eliot Hodgkin. One of the most influential collectors that developed London’s tastes was Leslie Waddington, who arrived in the city in 1957 and went on to become one of the most prominent fine art dealers in modern times, introducing the art world to artists from Jean Dubuffet to Patrick Caulfield, bringing the British and European aesthetic to America for the first time, and American Abstract Expressionism to London.
    [Show full text]
  • Royal Academy of Arts Announces Election of New Professors for the Ra Schools and an Honorary Fellow
    ROYAL ACADEMY OF ARTS ANNOUNCES ELECTION OF NEW PROFESSORS FOR THE RA SCHOOLS AND AN HONORARY FELLOW At a recent General Assembly meeting, conducted for the first time via video conference, the Royal Academy of Arts elected Fiona Banner RA as Professor of Perspective and Lubaina Himid RA as Professor of Painting for the Royal Academy Schools. Alison Wilding RA’s appointment as Eranda Professor of Drawing has also been extended for two years. This follows the election of author Zadie Smith as Honorary Fellow earlier this year. Fiona Banner aka The Vanity Press RA Elect (b.1966) Professor of Perspective Fiona Banner often works under the moniker of The Vanity Press. She established the imprint in 1997, with her seminal book The Nam. Since then she has published many works, some in the form of books, some sculptural, some performance based. In 2009 she issued herself an ISBN number and registered herself as a publication under her own name. Humour, conflict and language are at the core of her work. She first became known for her wordscapes, often heroically proportioned works that capture in her own words “films, from war blockbusters to porn”. She often works with the nude, transcribing the human form into category-defying prose. Sometimes she repurposes military aircraft to brutal, sensual, and comedic ends. Lubaina Himid RA Elect (b.1954) Professor of Painting Born in Zanzibar in 1954, Lubaina Himid is a British painter who has dedicated her four-decades- long career to uncovering marginalised and silenced histories, figures, and cultural expressions. She studied Theatre Design at Wimbledon College of Art and went on to receive an MA in Cultural History from the Royal College of Art.
    [Show full text]